Roxane en Radio

Entrevista en RFI (Radio France International) (En inglés)

Que dice la prensa

BEAUTEEZ’n THE BEAT (2014)

“In the improvised exchanges between Ms Butterfly and the younger tapper Alexandria Bradley, the level of surprise and invention was delightfully high!”
“The dancers sound was paramount”
“Engagingly musical and syncopated”
“Their rhythmic conversation made any notion of hitting like a man irrelevant”
(Brian Seibert, NEW YORK TIMES)

HOOFALOGIES (2010)

” Hoofalogies shows the club settings like La Cave in New York in which a generation of tappers — Ms. Butterfly among them — learned their craft, dancing to the ever-changing rhythms offered by leading jazz musicians, cheered on and taught by greats like Slyde, Chuck Green (….) Excitement filled the air; we might have been at La Cave, Slyde nodding behind us.”
(Jack Anderson, The NEW YORK TIMES, 2010)

MOODANZA (2010)

“Talk about a theatrical bombshell!”
(MUSICAL AMERICA)

DJELLABA GROOVE (2006-2008)

“The dancers, three tap and one flamenco, produced one staccato sequence after another, expertly interplaying with the musical score, even the trickiest syncopations sounded sharp and clear”
(Sarah Halzack, WASHINGTON POST)

“An excursion across cultures, blending jazz with rhythms soaked up traveling in Morocco and the Sahara desert. Chances are you’ve never heard tapping like this”
(Robert Johnson, STAR LEDGER)

“Such juxtaposition could look contrived but never does… Butterfly’s band, with the fantastic jazz cornetist Graham Haynes leading the charge, reflects her rich cross-cultural background and taste… Her dancing is virtually calligraphic… It tasks refines control to express this much joie de vivre”
(Eva Yaa Asantewaa, VILLAGE VOICE)

“Claudia Rahardjanoto and Ali Bradley … both reflected Butterfly’s understated buyoancy. So when the three perfomed together, they enchanted with their smooth melting style”
(Wendy Liberatore, DAILY GAZETTE)

“Butterfly’s taping has an open, laid back quality.This and the way she likes to pause and address an audience on her international tap aspirations makes the show immediately accessible”
(Hilary Ostlere, FINANCIAL TIMES)